“Paper” Lesson Plan
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Understanding Matboard
FRAMING FUNDAMENTALS by Jared Davis, MCPF, GCF Understanding Matboard Being the best frame shop in your area starts with the best products. atboard is a fundamental compo- Mnent of almost every framed pic- ture. However, understanding the vast range of information and choices avail- able in matboards can be daunting. In this article, I aim to provide some useful insights about matboard to help you to dispel some of the myths and decipher some of the facts about this vital aspect of our profession. The two primary purposes for matboard that the introduction of a matboard can in- Different grades of matboard are are to provide protection for the artwork and crease both the size and level of value in the designed for to enhance the framing design. sale of a frame. different appli- cations. Under- 1) Protect. The last consumer survey con- standing which choice to make is ducted by the Professional Picture Fram- How Matboard is Made important to both ers Association found that the num- Matboards are comprised of layers of pa- your customer and your business. ber-one reason why a consumer chose to per of various thickness, laminated together. custom frame an artwork was to protect The papers and core of a matboard are made the item. Preservation, clearly, is of prima- from either unpurified wood pulp, purified al- ry importance to your customer. pha-cellulose wood pulp, or in the case of mu- 2) Enhance. A matboard can help the view- seum-grade board, cotton linter pulp. er to focus correctly on the image. -
Leafing Through History
Leafing Through History Leafing Through History Several divisions of the Missouri Botanical Garden shared their expertise and collections for this exhibition: the William L. Brown Center, the Herbarium, the EarthWays Center, Horticulture and the William T. Kemper Center for Home Gardening, Education and Tower Grove House, and the Peter H. Raven Library. Grateful thanks to Nancy and Kenneth Kranzberg for their support of the exhibition and this publication. Special acknowledgments to lenders and collaborators James Lucas, Michael Powell, Megan Singleton, Mimi Phelan of Midland Paper, Packaging + Supplies, Dr. Shirley Graham, Greg Johnson of Johnson Paper, and the Campbell House Museum for their contributions to the exhibition. Many thanks to the artists who have shared their work with the exhibition. Especial thanks to Virginia Harold for the photography and Studiopowell for the design of this publication. This publication was printed by Advertisers Printing, one of only 50 U.S. printing companies to have earned SGP (Sustainability Green Partner) Certification, the industry standard for sustainability performance. Copyright © 2019 Missouri Botanical Garden 2 James Lucas Michael Powell Megan Singleton with Beth Johnson Shuki Kato Robert Lang Cekouat Léon Catherine Liu Isabella Myers Shoko Nakamura Nguyen Quyet Tien Jon Tucker Rob Snyder Curated by Nezka Pfeifer Museum Curator Stephen and Peter Sachs Museum Missouri Botanical Garden Inside Cover: Acapulco Gold rolling papers Hemp paper 1972 Collection of the William L. Brown Center [WLBC00199] Previous Page: Bactrian Camel James Lucas 2017 Courtesy of the artist Evans Gallery Installation view 4 Plants comprise 90% of what we use or make on a daily basis, and yet, we overlook them or take them for granted regularly. -
Making Paper from Trees
Making Paper from Trees Forest Service U.S. Department of Agriculture FS-2 MAKING PAPER FROM TREES Paper has been a key factor in the progress of civilization, especially during the past 100 years. Paper is indispensable in our daily life for many purposes. It conveys a fantastic variety and volume of messages and information of all kinds via its use in printing and writing-personal and business letters, newspapers, pamphlets, posters, magazines, mail order catalogs, telephone directories, comic books, school books, novels, etc. It is difficult to imagine the modern world without paper. Paper is used to wrap packages. It is also used to make containers for shipping goods ranging from food and drugs to clothing and machinery. We use it as wrappers or containers for milk, ice cream, bread, butter, meat, fruits, cereals, vegetables, potato chips, and candy; to carry our food and department store purchases home in; for paper towels, cellophane, paper handkerchiefs and sanitary tissues; for our notebooks, coloring books, blotting paper, memo pads, holiday greeting and other “special occasion’’ cards, playing cards, library index cards; for the toy hats, crepe paper decorations, paper napkins, paper cups, plates, spoons, and forks for our parties. Paper is used in building our homes and schools-in the form of roofing paper, and as paperboard- heavy, compressed product made from wood pulp-which is used for walls and partitions, and in such products as furniture. Paper is also used in linerboard, “cardboard,” and similar containers. Wood pulp is the principal fibrous raw material from which paper is made, and over half of the wood cut in this country winds up in some form of paper products. -
The Method of Making Models from Sheets of Blotting Paper
THE METHOD OF MAKING MODELS FROM SI-IEETS OF BLOTTING PAPER. BY SUSANNA PHELPS GAGE. Ithaca, New York. The Born Method of reconstructing models from wax plates is in use in all the larger laboratories of Anatomy and Embryology. Various modifications of that method have been introduced, notably at Johns IIopkins University. For smaller laboratories and isolated investigators the wax plates are difficult to prepare or to obtain already made. More- over, in the larger laboratories ihe preparation of the plates is a much dreaded piece of drudgery to be done in the basement. The apparatus is cumbersome and if at all accurate, expensive. Like any other ap- paratus it requires some skill to use it with success. Any one who has either cast or rolled wax plates will not need a statement of the inconveniences. In 1905, it occurred to me that sheets of blotting paper might serve instead of wax plates. A small model was at once made which showed its feasibility. Models made of this material were demonstrated at thc Association of American Anatomists in December, 1905, ( Amer. Jour. Anat. V., 1905-06, p. XXIII) and the method was further demonstrated at the International Zoological Congress held in Boston, August, 1907'. It has also been used successfully in the embryologic and anatomic laboratories of Cornell University and the University of West Virginia. Blotting paper models were demonstrated by Dr. J. H. Hathaway and by Dr. J. B. Johnston at the Association of American Anatomists held in New York, 1906 (Proc. Assoc. Amer. Anatomists, Anat. Record, April 1, 1907,). -
The Renaissance Spreads Outside of Italy
5/9/2019 Big Idea The Renaissance Spreads Outside of Italy Essential Question How did the Renaissance spread to the rest of Europe? 1 5/9/2019 Words To Know Renaissance - “rebirth” in French, the Renaissance was a cultural movement in the 14th-17th centuries during which European artists, scientists, and scholars, were inspired by the achievements of the Greeks and Romans. Let’s Set The Stage… As the Renaissance began to grow in Italy, northern Europe was still recovering from the ravages of the Black Death. But by the 1400s, the cities of the north began to enjoy the economic growth—and the wealth—needed to develop their own Renaissance. 2 5/9/2019 The Spread of Wealth Through Trade Trade routes that existed since the Roman Empire were infused by new wealth and products when trade between the Italian city-states and the Ottoman Empire increased. The Spread of Wealth Through Trade As a result, cities like Cologne, Bruges, Paris, London, and Lisbon became centers of trade and banking. Like in Italian cities, trade led to the establishment of a wealthy class of traders and bankers who supported architects and paid for work from artists. 3 5/9/2019 Papermaking By 1300, papermaking and printing technology reached Europe from China and the Middle East. Papermaking Paper making had contributed to golden ages in China and the Middle East, and to the preservation (saving) of Greek and Roman learning that had been “lost” in Europe and preserved (saved) by scholars (students) in the Ottoman Empire. 4 5/9/2019 The Earliest Books The earliest books were written on scrolls. -
Four Great Inventions of China Many of the Greatest Inventions in Human History Were First Made in China
History Topic of the Month Four Great Inventions of China Many of the greatest inventions in human history were first made in China. By the 13th century, China was an innovative and exciting place to live. Travellers from Europe discovered things there that were beyond imagination in Europe. When the explorer Marco Polo arrived in China, he encountered a Contributer: © Patrick Guenette / 123rf country vastly different from his home of Venice. In his book, The Travels of Marco Polo, Polo describes cities Cai Lun (AD c.57 – 121), was a Chinese courtier official. He is believed to with broad, straight and clean streets (very different from his be the inventor of paper and the home in Venice) where even the poorest people could wash papermaking process, discovering in great bath houses at least three time a week (again very techniques that created paper as we different from hygiene in Europe). would recognise it today. China celebrates four particular innovations as “the Four Great Inventions” — they were even featured as a part of the opening ceremony for the 2008 Beijing Olympic Games. So, what were these four great inventions? Writing it all down: Paper The first of the great inventions was something we all use almost every day: paper. Many different materials had been used for writing things down, like bamboo, wood (both hard to store and write on) or silk and cloth (much more expensive). Types of paper have been found in archaeological records dating back thousands of years, but it was very difficult to make. It wasn’t until AD c.105 that a quick and easy way of making paper was invented. -
Japanese Papermaking
A Guide To Japanese Papermaking Making Japanese Paper in the Western World Donald Farnsworth 3rd Edition A Guide To Japanese Papermaking Making Japanese Paper in the Western World Donald Farnsworth 3rd edition ISBN: 978-0-9799164-8-9 © 1989, 1997, 2018 Donald S. Farnsworth English translations © 1948 Charles E. Hamilton MAGNOLIA EDITIONS 2527 Magnolia St, Oakland CA 94607 Published by Magnolia Editions, Inc. www.magnoliapaper.com Table of Contents Author’s Preface 1 (Kunisaki Jihei, 1798; trans. Charles E. Hamilton, 1948) Introduction 3 Equipment (contemporary) 8 Cooking 23 ACKNOWLEDGMENTS Bleaching 27 I. Sunlight Bleaching (ultraviolet light) 28 Japanese text by Kunisaki Jihei and woodcut illustrations by Seich- II. Hydrogen Peroxide Bleaching 29 uan Tōkei are reproduced from a 1925 edition of Kamisuki chōhōki III. Chlorine Bleaching 30 (A Handy Guide to Papermaking), first published in 1798. Beating 31 Charles E. Hamilton's translations are reproduced from the 1948 Pigmenting 37 English language edition of A Handy Guide to Papermaking pub- Dyeing 39 lished by the Book Arts Club, University of California, Berkeley. Formation Aid 45 With the 1948 edition now out of print and increasingly difficult Mixing Formation aid powder PMP 46 to find, I hope to honor Mr. Hamilton's efforts by bringing his thoughtful and savvy translations to a broader audience. His trans- Contemporary vat, wooden stirring comb... 48 lations appear italicized and circumscribed in the following text. Sheet Formation 51 I. Japanese: Su and Keta 54 I would like to acknowledge Mr. Fujimori-san of Awagami Paper II. Pouring Method 59 and his employees, Mr. Yoshida-san and his employees, for fur- thering my understanding of Japanese papermaking. -
Recycling Potential of Textile Solid Waste
Waste Management and the Environment IX 125 RECYCLING POTENTIAL OF TEXTILE SOLID WASTE MOHAMMAD FAHIM HASAN, NOWRIN MOW, MOHAMMAD RAKIBUL ALAM, SARDAR MOHAMMAD ABIR HASAN & ROWSHAN MAMTAZ Bangladesh University of Engineering and Technology (BUET), Bangladesh ABSTRACT With increasing production of textile products, textile industries (TIs) are generating a considerable amount of liquid and solid wastes which bring in many adverse impacts on the environment such as landfill occupation, contamination of air, soil, surface water, and groundwater. In Bangladesh, while prioritizing the disposal and management of textile liquid wastes, the necessity of management of textile solid wastes (TSWs) are often neglected. TSW is generated in a considerable amount but no proper management or disposal system is followed by the industries. An attempt has been made in this study to find a sustainable disposal option for TSW. The experiments were conducted throughout 2016. This research is concerned with a particular type of solid waste, very dusty in composition, generated from slitting, brushing and sueding machine in the dyeing unit of the composite TI. Using this particular type of TSW, papermaking was attempted following manual procedures. TSW at ten different ratios were added to scrap abandoned paper mixture (paper : waste = 1 : 0.25, 1 : 0.5, 1 : 0.75, 1 : 1, 1 : 1.5, 1 : 2, 1 : 2.25, 1 : 2.5, 1 : 2.75, 1 : 3, etc.) to produce papers. A pulp consistency test and different tests on produced paper e.g. basis weight, bulk, and density, book bulk, thickness, hygroexpansivity, formation, moisture, and finish were conducted according to Technical Association of the Pulp and Paper Industry (TAPPI) methods and ISO standards were followed to determine the quality of pulp and type of papers. -
Alternative Use of Deinking Sludge As a Source of Fibers in Fiber-Cement Manufacture
CORE Metadata, citation and similar papers at core.ac.uk Provided by EPrints Complutense CELLULOSE CHEMISTRY AND TECHNOLOGY ALTERNATIVE USE OF DEINKING SLUDGE AS A SOURCE OF FIBERS IN FIBER-CEMENT MANUFACTURE ANGELES BLANCO, CARLOS NEGRO, ELENA FUENTE and LUIS MIGUEL SÁNCHEZ Department of Chemical Engineering, Chemistry Faculty, Avda. Complutense s/n 28040 Madrid, Spain The present paper, contributing to solving two different problems related both to the chemical industry and the environment, is a feasibility study on the utilization of the deinking sludge (the most important waste from papermaking) as a raw material for fiber-cement manufacture, in which asbestos has been recently replaced by other fibers because of the hazard it induces. The results obtained show that the use of deinking sludge as a source of cellulose in fiber-cement manufacture is feasible and could improve product strength, if 5% of the virgin fibers are replaced by fibers and fines from the deinking sludge. It is also possible to replace up to 10% of the virgin fibers, with no loss in product strength. These results, if confirmed on a mill scale, would improve the economy of the process, as due to lower waste costs. Keywords: fiber-cement, deinking sludge, recycling, waste management, sustainability, papermaking wastes INTRODUCTION As known, papermaking is an industry However, recycling operations, espe- leader from the standpoint of recycling and cially deinking, generate an important sustainability, the main reason being that quantity of wastes, representing 70% of the virgin and recycled fibers can be used wastes produced by the European pulp and together, sometimes contributing with paper industry. -
The Fine Art Trade Guild Standards for Mountboard (Mat Board) and Other Boards Used in Framing
The Fine Art Trade Guild Standards for Mountboard (Mat Board) and other boards used in framing. Amended 10th June 2004 Copyright C Sumner, Fine Art Trade Guild Introduction These standards are directed to the composition, combinations, and characteristics of papers and paper-boards used in the framing of artwork, keepsakes and memorabilia. They help to give material categorisation of these to fit into the five levels of framing specified by the Fine Art Trade Guild. The objective of each level of framing is stated, with examples of the kinds of things for which that level is suitable. At present, all board that does not meet either the Cotton Museum Board standard or the Conservation Board standard will be deemed to be Standard Board and suitable for Commended, Budget and Minimum levels of framing only. The specifications for Standard Board may be further refined in due course as the quality of boards in this category vary greatly. Conservation Board is deemed to be acceptable for all levels except Museum level framing. Museum Board is deemed to be acceptable for all levels of framing. It is a prerequisite that the type of surface and texture must be specified relating to any board purporting to meet Guild Standards. If the surface is designed to accept decoration and embellishments, as in the case of Mountboard unless otherwise stipulated, it should be fit for the purpose. (FACTS Institute, USA, Test No. 6-97). International – Note that in some markets no distinction is made between Museum and Conservation Framing. In others, the terminology is reversed, i.e. -
What Colors Make up the Ink in My Black Felt-Tip Pen? to Find Out, It
What colors make up the ink in my black felt‐tip pen? To find out, it takes a little water, patience and blotting paper 1 2 In this experiment, we will copy a technique commonly used in laboratories to separate different chemicals that are present in a mixture. – in this case the ink in a black felt‐tip pen. The technique is called chromatography. When we deposit the black ink onablottingpaper,eachofits components will interact of a 3 4 different way with the paper and water. It is a kind of race where the components in of the ink finish by separating (because they do not move not all to the same speed when exposed to water), revealing the palette of colors present in a simple black felt. 1. For this experiment, Emma needs of blotting paper (from coffee filters, by example), of a pair of scissors, of two transparent glasses, a black felt pen, two paperclips, and two wooden sticks. 2. Our young chemist cuts two rectangles from the blotting paper. On the first, she draws a point. On the second, a line. Each time to about one‐half inch from the edge as on the photo. 3. It is then a question of fastening the rectangles of blotter paper onto the sticks using the paperclips. The operation is delicate and the help of a adult may prove necessary 4. Emma fills the 2 glasses with a little water, just enough for the end of the blotter paper to become wet. Then she balances the sticks on the edge of the glasses water. -
Terminology on Paper & Pulp: Types of Paper and Containerboard, Containerboard Grades and Tests
Terminology On Paper & Pulp: Types of Paper and Containerboard, Containerboard Grades and Tests Prepared for the Meeting of the Paper & Pulp Industry Project By Aselia Urmanbetova Date: September 10, 2001 1 Paper Products Chart: Containerboard Tree/Waste Paper Pulp Paper Paperboard Brown Coated Uncoated (container- board) Brown (65% White (95%- Copying Paper Newsprint hardwood and 100% 35% softwood) softwood) White Tissue (paperboard package) SBS (Solid Boxboard Bleach Sulfate) Coated Uncoated 2 Examples of Containerboard Grades/Mead Corporation: (Refer to the Glossary for the Explanation of the Terms) Standard Grades Grade Basis Weight Moisture Ring Crush Concora 26 SC 26.0 9.0 N/A 63 30 SC 30.0 9.0 50 68 33 SC 33.0 9.0 60 72 36 SC 36.0 9.0 71 79 40 SC 40.0 9.0 82 79 45 SC 45.0 9.0 102 95 Light Weights Grade Basis Weight Moisture Porosity Concora STFI 18 SC 18.0 7.5 30 33 9.5 20 SC 20.0 7.5 30 35 10.5 23 SC 23.0 9.0 30 59 12.0 Polar Chem Grade Basis Weight Moisture Ring Crush Concora Wet Mullen 30 PC 30.0 9.0 50 68 4.0 33 PC 33.0 9.0 60 72 4.0 36 PC 36.0 9.0 71 79 4.0 40 PC 40.0 9.0 82 79 4.0 45 PC 45.0 9.0 102 95 4.0 3 Paper Products and Containerboard Glossary B Flute A flute that is approximately 0.097 inches high.